St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1887-11-03

again This is a mistake. Young singers
have to suffer frcm this. They have. when
they appear Oh The public stage, 10 fight not
only against popular prejudice, but against
the ghUstly army of regulations OF dead art
lists. who sturdily Tefus e TO make room for
the new corners. But Jenny Lind's reputa-
ton. as il remains i'll memory, is not of this
grand army. Strange to say. though she was
admitted by her contemporaries to be I'M
Tiyaled in her powers of song, she
is. unfortunately, remembered by the
great public more On account of the
StOry of the sale of the first Jenny Lind ticket
by Mr.. Barnum, than for anything else. The
public has been taught to associate her name
with one of the most absurd and successful
pieces of advertising ever attempted, when
P T. 3. induced Genin, the halter. and
Brandreth the pill-makeT 10 bid against each
other for the choice seat 10 her first concert
at Castle Garden. Genin, as Mr.. Barnum has
told Us q hundred times, paid S225 for the
privilege. and did line stroke OF business.
making himself and his hats famous at the
time. ''Genin made fortune out of it" Mr..
Barnum tells US in his recent article in the
Cosmopolitan. His hats were bought by
nearly everybody. Almost every man visit
ing New York was sure to wear a Genin hat
thus causing his neighboTs to envy him till
they in turn secured similar prize Let US
admit frankly that this incident connected
with Jenny Lind first appearance among US
has caused the singers real merit to be for
gotten; her name to shine not among the
very brightest in the Golden Book of Singers
alone, but among the most celebrated in the
golden book of advertising. The story of
Genin, the halter, and his purchase is better
known than the eulogiumS of critics passed
upon her at the time. Now that she is dead
it is well to remember that Lablache. the
famous bassO, said of her: Every note was
like perfect pearl that Chorley tells US
how Mendelssohn was delighted when he saw
how completely she was able to magnetic
her London audiences; that Julius. later Sir
Julius 3enedist said of her: ''WhO can re-
main cold and insensible when she gives free
scope 10 the resources of her genius, so rich
and various: The sacred flame communicates
itself 10 her audience; thrill runs through
the seats, a profound emotion is engraved
upon all cOuntenances, and when at last the
solemn silence is replaced by universal
acelamations, when we try to accIllnt
and ask why we have been seized with bid
luiration and establishment. the anSw{t is
that we have heBrd an artist who makts a
conscience of her art Who can read the
accounts to-day of Jenny Lind's reception in
New York in September, 1880, without a
snlile2 When we read that her hotel RTSas
surrounded at midnight of the first nig4l of
her stay in New York by 10000 people, at
she was serenaded by band of musidi us
who had marched up led by several hund eds
of red-Shirted hremeI, we only see the ma
chinPry of the impTessario, who to-day
contents himself with charteTing a steamer
and band of music to go down the bay 10
meet the incoming star. However, Jenny
Lind was great success in spite of all this.
Her first concert brought in S26. 900 OF
this Jenny Lind gave her share to the char
liable institutions Of New York, and to men,
bers of the New York orchestra who were
III INDECENT circumstances All through her
career Mile. Lind gave much of her earnings
to The poor. In Germany she had given